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Flueskum
Regular Member
Joined: 18 Jun 2016
Posts: 55
Location: Finland
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 Posted: Mon Feb 06, 2017 8:03 am Post subject: Pedal ad double pedal |
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Dear TH friends.
I have been practicing pedal tones and double pedals for some time now but I have a question. When I come to the Pedal C (open) and below it seems like I can play with 2 different settings, one where I push the Jaw forward and get "better" sound, more full body almost like normal note -- or if i don't move the jaw forward and the lips seem to get closer together, however that creates more of a buzz sound, little bit uglier, I know its not about the sound obviously.
Im wondering witch version would be more beneficial. Any takes on this ?
All best from Finland
Flueskum. |
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Richard III
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Joined: 22 May 2007
Posts: 2655
Location: Anacortes, WA
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| Posted: Mon Feb 06, 2017 8:19 am Post subject: |
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Since you've been doing this, has your sound and ease of play improved in the upper range?
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Richard
King 1130 Flugabone
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Flueskum
Regular Member
Joined: 18 Jun 2016
Posts: 55
Location: Finland
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| Posted: Tue Feb 07, 2017 8:55 am Post subject: |
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| Richard III wrote: | | Since you've been doing this, has your sound and ease of play improved in the upper range? |
Yes i have gained some new notes  |
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trumpetplanet
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Joined: 05 Feb 2012
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Location: Bristol, UK
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Seymor B Fudd
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Joined: 17 Oct 2015
Posts: 1474
Location: Sweden
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| Posted: Wed Feb 08, 2017 2:54 am Post subject: Re: Pedal ad double pedal |
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| Flueskum wrote: | Dear TH friends.
I have been practicing pedal tones and double pedals for some time now but I have a question. When I come to the Pedal C (open) and below it seems like I can play with 2 different settings, one where I push the Jaw forward and get "better" sound, more full body almost like normal note -- or if i don't move the jaw forward and the lips seem to get closer together, however that creates more of a buzz sound, little bit uglier, I know its not about the sound obviously.
Im wondering witch version would be more beneficial. Any takes on this ?
All best from Finland
Flueskum. |
In the BE -method (Iīm only a practician) an important variable is producing the double pedals not "beautifully" but ugly (something towards an outboard motor noise). The general idea to stimulate the ability to obtain a closure of the lips. Thus a double pedal, according to this method (as I have understood it) is to be produced by holding lips closed, placing the mpc mostly on top lip and then moving bottom lip outside the mouthpiece, think of a sullen small kid! This consitutes the RO (roll out)
So its about the sound! 
In order to strengthen the lips the RI (rolled in, lips pinched, no red tissue) then is to be produced (the procedure might take off from either RO or RI). Ultimate goal to obtain a flexible embouchure (again, as I have understood it).
Aside from double pedals thus produced, being very vigourating, relaxing by themselves, my personal view, thus a much better (in my view phenomenal) embouchure can be obtained. But thatīs another story.
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Flueskum
Regular Member
Joined: 18 Jun 2016
Posts: 55
Location: Finland
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| Posted: Fri Feb 10, 2017 6:56 am Post subject: Re: Pedal ad double pedal |
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| trumpetplanet wrote: | | Flueskum wrote: | | I know its not about the sound obviously. |
If you're not guided by the sound you make then what else is there? |
what i meant was that some people try to play loud pedals, or very large sound on the pedal tones, im more thinking getting something out of it with perhaps little uglier sound than trying to make them "beautiful" |
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cheiden
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Joined: 28 Sep 2004
Posts: 8914
Location: Orange County, CA
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| Posted: Fri Feb 10, 2017 9:26 am Post subject: |
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Any pedals that are produced by opening the lips or making the lips flaccid are probably not producing the desired result. These manipulations may produce a big sound which some perceive as positive but I think it's missing the mark and can be counter productive. When I see pedals achieving the desired result the lips remain in their normal position on the mouthpiece, sometimes there is pivot and some rolling out, but that the center of the lips, the vibrating surface has both the characterization of being very supple and simultaneously very well supported by the surrounding facial muscles. The tone often has a very strong core whether played softly of loud.
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